Johannes Brahms: Sonata No. 3 in F minor, Op. 5

To have completed his third sonata and to bade farewell to this form at the age of only twenty, placed Brahms in a unique niche in musical history. More particularly is this so when the work is endowed with such colossal proportions as well as an enormous range of expression. 1853 was also the year of Liszt's unique contribution to this form. One could not imagine two more radically different constructions than both these edifices.

The first subject of the first movement is on such a grandiose scale that the resources of the instrument seem driven to their absolute limits. Indeed the precipitous mood of the orchestral opening of the D minor concerto is foreshadowed in this movement.

There are few passages in the piano literature of the 19th century that make greater demands on the stamina of the pianist than the explosive octave passages opening the development section.

The slow movement is sub-titled with these words:

Der Abend dämmert, das Mondlicht scheint,

Da sind zwei Herzen in Liebe vereint

Und halten sich selig umfangen. – Sternau

(Dusk falls, the moonlight shines,

There are two hearts in love entwined

Holding each other in blissful embrace.)

In this love song Brahms expresses such intimacy and beauty, that one has to continually remind oneself of the extraordinary fact that it is the fruits of a mere twenty years experience of life. The climax of the movement is indeed profoundly moving.

After the richly diatonic strains of the Andante the Scherzo is chromatically whimsical and brilliant, in contrast to the hymn-like harmonies of the Trio.

An ominous note is sounded in the Intermezzo – Brahms sub-titles this “Rückblick” (in retrospect). The triplet drum motif has portentous overtones, seeming to dissipate the serenity and happiness of the Andante from which the falling thirds of the theme is derived.

This monumental sonata is brought to a close with an energetic Rondo (ABACAD), the second episode of which is a chorale. Brahms embarks on two variations on the chorale each faster than the preceding section. The second one being the Coda is a veritable tour de force plummeting to the final chords: a plagal cadence as if to emphasise the religious overtones of the chorale.